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A documentary about how a dominant cultural and demographic institution both sustains their traditional activities and adapts to the digital revolution.

A documentary about the life and films of director John Ford.

In an intimate and joyful story of love in the face of loss, celebrated poets Andrea Gibson and Megan Falley find strength—and unexpected hilarity—in what might be their final year together.

Alexander McQueen's rags-to-riches story is a modern-day fairy tale, laced with the gothic. Mirroring the savage beauty, boldness and vivacity of his design, this documentary is an intimate revelation of McQueen's own world, both tortured and inspired, which celebrates a radical and mesmerizing genius of profound influence.

A string of threatening emails escalates into a revenge plot involving a newly married US marshal and his ex-girlfriend.

From the heights of her modeling fame to her tragic death, this documentary reveals Anna Nicole Smith through the eyes of the people closest to her.

A visual montage portrait of our contemporary world dominated by globalized technology and violence.

Behind the scenes look at fight choreography and action training.

Film adaptation of French economist Thomas Piketty's ground-breaking global bestseller of the same name: an eye-opening journey through wealth and power.

Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented.

A purely observational non-fiction film that takes viewers into the ethically murky world of end-of-life decision making in a public hospital.

A night of drunken chaos rocks a quiet Dutch town in this shocking documentary about a teen's birthday invite that accidentally went viral on Facebook.

A detailing of the rise to prominence and global sporting superstardom of six supremely talented young Manchester United football players (David Beckham, Nicky Butt, Ryan Giggs, Paul Scholes, Phil and Gary Neville). The film covers the period 1992-1999, culminating in Manchester United's European Cup triumph.

Follow the evolution of the 'Halloween' movies over the past twenty-five years. It examines why the films are so popular and revisits many of the original locations used in the films - seeing the effects on the local community. For the first time, cast, crew, critics and fans join together in the ultimate 'Halloween' retrospective.

Just two years away from turning 30, participants in Michael Apted's documentary series are facing serious questions of identity and purpose, wondering whether they've found their place in the world.

After another 7 year wait, director Michael Apted revisits the same group of British-born children from Seven Up! and 7 Plus Seven. The subjects are interviewed as to the changes that have occurred in their lives during the last seven years.

An inside look at one of the most anticipated movie sequels ever with James Cameron and cast.

Serial killer Dennis Nilsen narrates his life and horrific crimes via a series of chilling audiotapes recorded from his jail cell.

A dreamlike conversation with the past and the present, reimagining Latasha Harlins' story by excavating intimate memories shared by those who loved her.

In August, 2014, a video of the public execution of American photojournalist James Foley rippled across the globe. Foley wore an orange jumpsuit as he knelt beside an ISIS militant dressed in black. That image challenged the world to deal with a new face of terror. And it tested one American family. Seen through the lens of filmmaker Brian Oakes, Foley’s close childhood friend, Jim takes us from small-town New England to the adrenaline-fueled front lines of Libya and Syria, where Foley pushed the limits of danger to report on the plight of civilians impacted by war.

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

MEUTHEN'S PARTY unmasks the rise of the provincial politician Dr. Jörg Meuthen who doesn't shy away from spreading racist sentiments with a smile on his face.

Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.

For us, a thought always presupposes a society, a culture and above all the consciousness of time. We are haunted by immortality, human notion par excellence. As if the world was here to fascinate us. And to disappoint us. The film travels around the bulb like the Earth around the Sun. Light makes the film visible. A fragile film, like our existence. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

A small portrait of the volatility of intimacy and of breaking free from abusive cycles: made in response to a year of collapsing relationships and violent accidents that left me broken, dislocated and stuck in my apartment.

The last woman on Earth: Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments and visions of the future. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of humankind’s relationship with the natural world.

'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra

The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.

Vi.sion is the product of an encounter between an expanding ballet troupe and an abandoned school with a marvelous theater, which was to be demolished to make way for a parking lot. It is the home of a place, imbued with memories of a rich and proud past, by the footsteps of a young troop. The time is getting confused. The present and the past blend together and it is the old school that dances with the passion and passion of young dancers. Ghosts, shadows, specters ... They bewitch.

The starting point of this film was a set of 35mm trailers acquired from various abandoned cinemas. This work reveals the veiled and forgotten images used by the commercial film industry.

Nature, gymnastic movements, a cat...

Glen Denny observed: "This film is not ocean, it is panther stalking jungle." Camera flows because it is free to move through space.

Fluidity of stone. Subatomic motion asserting a surface. Mind loop wandering. Visitation of sound matrix. Liquid solid. Nature transforms a planetary cycle. Relations of a timeless void.

Shot at high noon in New York’s financial district, Wallstreet is much like a vertical tickertape, charting the existence of typical office workers. The film’s elongated shadows suggest these workers’ depersonalized, neuter, nearly uniform lives, which flow by without any solid or stable element that might provide definition.

Vertiginous documentary, shot in effective black-and-white, treats two painful histories. The first is a love story about a truck driver who, on his way from Johannesburg (South Africa) to Luderitz (Namibia), is haunted by thoughts of his girlfriend and their recently severed relationship. His memories are expressed in an often recurring scene, in which songs by Alec Empire, Macy Gray and Robert Schumann roughly tell the story. This small history is alternated with the tragic fate of the Namibian Heroro people, many thousands of whom died early last century in concentration camps that had been set up by the German colonisers near Luderitz. The depiction of this history is cruder and more poignant, with slanting frames, odd camera angles and a multi-layered sound sculpture. The dilapidated barracks and officers' quarters are the last remnants of the miscarried, so-called civilisation projects in Africa.

The film takes us through the working day of protagonists, factory workers. Their basic working tool is their body, ready to execute strenuous manual tasks. Day after day the same story, the same faces, the same spaces, the same tasks. Feeling confined, they seek a sheet anchor, a way out, an escape. They venture into the unknown, dance, drift and float in the air.

The Greek island of Syros is visited by a series of unexpected guests. Immutable forms, outside of time, aloof observants to human conditions.

Here's a strange one. First, a song on a blackboard: a Polish translation of “I love my little rooster” by American folk writer Almeda Riddle. Then, two men roll around trash bins and lift them to the garbage truck. They do it several times. A woman shouts in the distance. At the end, the picture stops, and the woman sings the song. An early short by Piotr Szulkin.